Five Preludes Op. 74: by Alexander Scriabin

Five Preludes Op.
74
by Alexander Scriabin
Edited by Peter Billam
Peter J Billam, 2011
This score is offered under the
Creative Commons Attribution 4.0 International
licence; see creativecommons.org
This edition 15 February 2014.
www.pjb.com.au
Five Preludes, Alexander Scriabin op.74, 1914
The following analysis is largely distilled from Manfred Kelkels book Alexandre
Scriabine: Sa vie, lsotrisme et le langage musical dans son oeuvre, ditions Honor
Champion, 7 quai Malaquais, Paris, 1978. Kelkels analysis seems to me investigative
and insightful; previous analyses seem more procrustean.
Scriabins Six, Seven, Eight, Nine, and Ten-note scales
Danilewitsch quotes Scriabin: "my melody is a decomposed harmony, and my harmony is
condensed melody." The harmony notes are not a subset, selected for lower tension, of
the melody notes; they are all of them. The euphony desirable in longer notes is attained
by careful spacing; this in turn encourages some arpeggiation in performance, which
further blurs the border between the harmonic and melodic realms. In the following
theyre called scales, but they could also be called chords.
The Six-note scales : (op.60 ...) Scriabin uses two kinds of six-note scale: one derived
from a whole-tone scale by raising one of the notes, i.e. 2+2+2+3+1+2 semitones; the
second by also lowering the opposite note (three away) from the raised one, i.e.
1+3+2+3+1+2. I will call them 6A and 6B respectively.
The Seven-note scales : (op.62 ...) Scriabin uses two kinds of seven-note scale: one
derived from a whole-tone scale by splitting one of the notes into two, i.e.
2+2+2+1+2+1+2 semitones; the second by also lowering the opposite note (three away)
from the split one, i.e. 1+3+2+1+2+1+2. I will call them 7A and 7B respectively.
The Eight-note scale : (op.55, 64...) Scriabin used the scale 1+2+1+2+1+2+1+2
semitones, which repeats every three semitones, has only three distinct transpositions and
was later adopted by Messiaen. The eight-note chord D# E F# G A Bb c db, for example,
I will call 8 (D#,E). In op.74 nos.3 and 5 the eight-note chord is used to end a section.
The Nine-note scales : (op.67 ...) Scriabin uses two, perhaps three kinds of nine-note
scale: one derived from the eight-note scale by adding one of the missing notes, i.e.
1+2+1+2+1+1+1+1+2, which has twelve transpositions; the second using
2+1+1+2+1+1+2+1+1 semitones which repeats every four semitones and has only four
distinct transpositions and was later adopted by Messiaen; the third with the lower half-
octave in tones and the upper completely chromatic i.e. 2+2+2+1+1+1+1+1+1. I will call
them 9A, 9B and 9C respectively.
The Ten-note scales : (op.74) Scriabin uses two kinds of ten-note scale: one in which
the missing notes are three semitones apart, i.e. 1+2+1+2+1+1+1+1+1+1 which has a
lower half-octave with an eight-note character but an upper half which is completely
chromatic; the other in which the missing notes are six semitones apart, i.e.
1+2+1+1+1+1+2+1+1+1 which repeats every six semitones and has only six distinct
transpositions. I will call them 10A and 10B respectively.
Structure and rhythm
Scriabin studied composition under Georges Conyus from 1883. Georges Conyus had
devised a neat method of rhythmic and metric analysis : Le diagnose metrotectonique de
la forme des organismes musicaux which, much later in 1933, was published as a book.
As Kelkel points out, Scriabins pieces are particularly clearly shaped, when looked at
with Conyus method.
Scriabin also used palindromic (non-retrogradable) rhythms, and also many forms of
augmentation or diminution, such as addition or subtraction of the dot or long/short
inversion, which were later used by Messiaen.
The overall layout of the op. 74 preludes is simply, fast, slow, fast, slow, fast; and also
(structurally) binary, ternary, binary, ternary, binary. As Kelkel points out, the numbers of
bars of the preludes, and of neighbouring groups of the preludes, contain a signicantly
high proportion of the Lucas numbers: 1 3 4 7 11 18 29 47 76 etc, which is a Fibonacci-
like series beginning with 1 and 3 instead of 1 and 2.
No. 4 has the old Minnesnger form of the Bar, as explained by David in Act I Scene 3
and Act III Scene 2 of the Meistersinger. It can also be seen as spun by repeating the last
6, 3, or 2 beats, somewhat varied (usually upwards), in a classical condensation and
liquidation, leading to the recapitulation with written-out ritardandi.
Editions
In this edition the notes are right but many expression marks are not, partly through the
constraints of my music-typesetting software muscript. Long slurs have been omitted,
and the arpeggiation symbols are missing. If youre considering playing these pieces,
make sure you consult a more authoritative edition.
Op.74 is not included in the Peters Edition Band III Preludes and Poems edited by
Gunther Philipp.
In the 1967 Muzyka edition, reprinted by Dover in 1973, there seem to be misprints in:
no.1 bar 1, RH top voice 2nd-last note should be an e#, not an e
no.4 bar 9, LH third triplet-quarter-note should surely be a gb, not a g
no.5 bar 3, RH last note c# should be tied over to the rst note of bar 4
no.5 bar 11, LH middle phrase, the rst of the tied chords should be <G_ G> not <G_ E>
Peter Billam, www.pjb.com.au
Five Preludes, Op. 74 (1914)
3 Alexander Scriabin
Douloureux, dchirant
3
4
3
4
3
4
3
p cresc . molto
3
4
5
3
5
5
3
10
15
Free from www.pjb.com.au !
4
No. 2
Scriabin, Five Preludes, Op. 74 (1914)
Trs lent, contemplatif
4
8
pp
4
8
5
10
15
pp smorz. dim.
5
No. 3
Allegro drammatico
9
8
9
8
cresc . . .
9
8
f comme un cri
5
p subito cresc .
10
dim .
p cresc .
6 Scriabin, Five Preludes, Op. 74 No. 3
15
p subito cresc .
20
dim .
7
No. 4
Lent, vague, indcis
3
4
3
4
p cresc . . . pochiss.
3
4
3
4
3
3
3
5
3
10
3
3
3
3
dim . accel .
15
rit .
20
8
No. 5
Fier, belliqueux
3
2
6
6 6
p cresc . . .
3
2
3
5
5
3
5
5
5
imprieux
3
3
6
6 6
p
cresc . . .
10
3
5
5
6 6 6
p
cresc . . .
3
5
5
3
3
15
f
Five Preludes, Op. 74 (1914)
10 Alexander Scriabin
Douloureux, dchirant
3
4
3
4
3
4
3
p cresc . molto
3
4
First section:
10A (no B or D)
6beat phrase, 7 melodynotes . . .
5
3
10A (no D or F)
12beat phrase, 7 notes
10A (no G# or B)
5
10A (no B or D)
6beat phrase, 7 melodynotes . . .
10A (no F or G#) Second section:
6beat phrase,
7 melodynotes . . .
5
3
10
Coda :
10A (no G# or B)
12beat phrase, 3 melodynotes repeated 3 times . . .
So the phraselengths, in notes, are : 7, 7, 7, 7, 3x3, 3
7beat phrase, 3 melodynotes
15
12
No. 2
Trs lent, contemplatif
4
8
pp
4
8
Opening section:
9A (added F)
2 bars, 7 notes . . .
Second section:
9A (added B)
4 bars . . .
9A (added F)
5
+ E#
9A (added D)
passing note, or
10A (missing G#,B)
Central section:
9A (added B)
4 bars . . .
8 (F,Gb) 9A (added F) 9A (added F)
10
+ E#,G#
9A (added D)
passing notes
Fourth section:
9A (added F) 8 (F,Gb)
4 bars . . .
9A (added F) 9A (added G#)
9A (added B)
15
pp
Final section:
9A (added F)
2 bars . . .
smorz. dim.
So the phraselengths, in bars, are symmetrical : 2, 4, 4, 4, 2
14
No. 3
Allegro drammatico
9
8
9
8
cresc . . .
9
8
7note phrase
9A (added G#)
First section : 12 bars . . .
9A (added D)
f comme un cri
9A (added G#)
5
p subito
9A (added F)
cresc .
9A (added D) 8 (D#,E) closes off the section . . .
10
dim .
p cresc .
9A (added D)
Second section : 12 bars . . .
15
9A (added B)
9A (added D)
p subito
9A (added B)
cresc .
20
9A (added G#) 8 (D#,E) closes off the section and the piece
dim .
Final section : 2 bars . . .
16
No. 4
Lent, vague, indcis
3
4
3
4
p cresc . . . pochiss.
3
4
3
4
9B (C#,D#,E) 9B (C#,D#,E) 8 (D#,E) 8 (F,Gb)
3
9B (C#,D#,E) 9B (C,D,Eb)
3
3
5
8 (D#,E) 8 (F,Gb) 9B (C#,D#,E) 9B (C#,D#,E) 9B (C,D,Eb)
9B (C#,D#,E) 9B (C,D,Eb)
3
non
scale
passing
notes
10
9B (C#,D#,E) 9B (C,D,Eb)
3
3
3
3
. . . 9B (C#,D#,E) sempre . . .
dim .
passing
notes
accel .
15
rit .
passing
notes
. . . 9B (C#,D#,E) sempre . . .
20
8 (D#,E) 8 (F,Gb) 9B (C,D,Eb) 8 (D#,E) 8 (E,F)
18
No. 5
Fier, belliqueux
3
2
6
6 6
p cresc . . .
3
2
6A (C# up to D) 7A (B split to Bb, c)
3
5
5
Bar 1 RH 5/3 faster
6B (also Eb down to Ebb) 6A (A up to Bb)
6A (A up to A#) 7A (G split to Gb, Ab)
3
5
5
6B (also B down to Bb) 6A (F up to F#)
5
imprieux
3
3
8 (C, C# etc)
eightnote chord used to end the section . . .
%
% %
6
6 6
p
cresc . . .
6A (C# up to D) 7A (B split to Bb, c)
10
3
5
5
6B (also Eb down to Ebb) 6A (A up to Bb)
6 6 6
p
cresc . . .
6A (D# up to E) 7A (C# split to C, D)
3
5
5
6B (also F down to Fb) 6A (B up to C)
3
3
8 (C, Db etc)
%
15
%
f
% %
cc
BY
Peter Billamwas born in London in 1948, studied piano, and lived in Switzerland from 1973 to
1983, where he studied composition, classical guitar, ute and voice, worked as Musical Director
of the Thtre Populaire Romand, and as recording engineer, record producer and computer
programmer. He moved to Tasmania in 1983, lectured in composition at the Conservatorium,
conducted recorder ensembles and choirs, studied recorder, voice and harpsichord. He founded
www.pjb.com.au, becoming the rst composer to sell scores on-line, with on-line delivery,
taking scores from Composer to Performer in one immediate step. Www.pjb.com.au offers a new
approach to music publishing. These pieces are written to be read, made to be played !
Compositions at www.pjb.com.au include: Five Short Pieces, guitar, 1979; Divisions on an Italian
Ground, ute and guitar, 1980; De Profundis and Nacht, on poems by Lama Anagarika Govinda, voice and
piano, 1980; Fnf Bagatellen, piano, 1980; Five Rounds, choir, 1986; Go Forth and Multiply, choir, 1986;
Three Violin Duets, 1987; Fable, for piano, 1987; To Erich Jantsch, SAATTB recorders, 1988; A Suite of
Curves, trombone (or horn) and piano, 1990; Two Recorder Duets, alto recorders, or other melody
instruments, 1991; Tr ombone Quintet, trombone, ute, piano, bass, and percussion, 1994; Three Songs, on
poems by Jack Kerouac, Vikram Seth and Dylan Thomas, voice and piano (only the rst and third of these are
available), 1994; Piano Study, piano, 1994; Four Dances, various ensembles including recorder quartet,
string quartet, 1995; The Poet in the Clouds, on a poem by S. T. Coleridge, SATB choir, 1995; Tr es Casidas
del Divn del Tamarit, on poems by Federico Garca Lorca, voice and piano, 1997; Three Suites, for the
solo line, piano, and piano and a solo line, 2000; Die Zeiten, on poems by Kstner, Bachman and Jnger,
choir (only the second and third of these are available), 2000; Three Duets for utes, 2001; For Four Hands for
piano four hands, 2002; Three Preludes for piano, 2003; Second Solo Suite for ute, violin, viola or cello,
2003; Guitar Duet for two guitars, 2006; We Who Mourn for choir, 2007; Trio With Guitar for guitar and
two clarinets or two recorders or two violas, 2008; Canons for two- and four-hand piano, 2009; Flute Trio,
2012; Ke yboard Studies, 2013.
Arrangements include: By J. S. Bach: Trio BWV 655, piano and ute; Vor deinen Thron BWV 668,
piano; Fugue in F minor BWV 689, SATB recorders; Four Duets BWV 802-5, keyboard; Flute Sonata BWV
1031 transposed into G major for alto recorder and keyboard; Flute Sonata BWV 1032 completed by Peter
Billam for ute and keyboard, also in C major for alto recorder, and in G major for descant; Ricercare a 3,
from the Musikalisches Opfer for keyboard; Ricercare a 6, for sSATBG recorders, or strings, or two
keyboards; Fuga Canonica in Epidiapente for keyboard and melody instrument; from the Art of Fugue:
Contrapuncti 1, 4 and 9 for keyboard, and Contrapunctus 14 as completed by D. F. Tovey, for keyboard, or
for SATB recorders, or for strings; Passacaglia and Fugue in c for piano four hands; Chorales with Descant
for melody instrument and piano; Cello Suites I, II and III for ute or alto recorder, Forty Chorales for
piano, Der Geist hilft for SATB-SATB recorders. By Johannes Brahms: Fugue in Ab minor for organ, for
SATB recorders and gamba, in A minor; Choralvorspiele for organ plus settings by Isaac, Bach, Praetorius,
recorders. John Carr, Divisions on an Italian Ground, ute or recorder and guitar. By G. F. Hndel:
Concerto Grosso in A minor op 6 no 4, harpsichord and recorders; Recorder Sonata in Bb no 5, in G for
tenor recorder and keyboard. Claudio Monteverdi, Ecco Mormorar lOnde, SSATB recorders. By Arnold
Schoenberg: Verklrte Nacht for piano. By Franz Schubert: Four Songs, voice and guitar; Dances,
recorders and guitar, Dances, piano 4 hands. Scriabin, Two Preludes op.67; Five Preludes op.74, piano.
Telemann, Twelve Flute Fantasias, recorder. John Wilbye, Draw on sweet Night, SSATTB recorders, and
for ute choir. Twelve Italian Songs, voice and guitar; Fourteen Folk Dance Tunes, recorder and guitar;
Bushband Dances, violin, piano accordeon and banjo; Easy Classical Pieces, Bb trumpet and piano.
These pieces are under the Creative Commons Attribution 4.0 licence. Very briey:
You may copy and redistribute the material in any medium or format.
You may transform and build upon the material for any purpose.
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Feel free to visit . . . www.pjb.com.au

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